为什么要有私人艺术史?艺术家的首要任务是创作出好的作品,作品包含其思想。何谓好作品,是值得探讨的,在中国当代艺术系统下,虽然我们的语境和认知几乎无法建立客观的艺术史认知,可是都有自己独特的艺术史认知。在“自成一体”的前提下,艺术上的理解常常是误解。想要了解客观的真相,可是“客观”在哪?做到尽量的客观,对艺术史真理的追究成为触发我一再对艺术史私人误读、误解的原动力。我认为西方艺术史话语权是建立在严谨科学的态度和方法上的,艺术史不只是史家所写,更是他们这几百年前赴后继的艺术家实践。他们建立了一种艺术家之间在艺术语言上的逻辑和关系。这样的逻辑关系的建立就是西方艺术史本身。而中西合璧,用中国哲学、政治和社会学去弥补中国艺术家在艺术创作手法上的无能,这样的艺术在西方话语权下面一定会变成点缀和配菜。如果话语权有大小区别的话,那一定是依据谁的逻辑更完备,更有道理,更有上下文关系;从传统角度看是有继承的,从创新角度看是有建树的。与其抱怨话语权不在自己手里,不如想想办法怎么做好自己的逻辑,做好自己的上下文。这也许需要几代人的努力,需要每个艺术家在实践中找到自己的美术史建立相互的上下文。 Why do we have a history of private art? The primary task for artists is to create good works that contain their thoughts. What is good work is worth exploring. Under the Chinese contemporary art system, our context and cognition can hardly establish an objective understanding of art history, but each has its own unique understanding of art history. In the “self-contained” premise, the art of understanding is often misunderstood. If you want to know the objective truth, but where is objective being, try to be as objective as possible. Investigating the truth of art history becomes the driving force behind my repeated personal misunderstanding and misunderstanding of art history. In my opinion, the right of speech in Western art history is based on rigorous scientific attitudes and methods. Art history is not only written by historians but is also the artist’s practice which they went after hundreds of years ago. They built a logic and relationship between artists in the language of art. The establishment of such a logical relationship is the history of Western art itself. The combination of Chinese and Western uses Chinese philosophy, politics and sociology to make up for the incompetence of Chinese artists in the way of artistic creation. Such art will certainly become embellishment and side dish under the power of Western discourse. If there is a difference in the right to speak, then it must be based on who’s logic is more complete, more justified and more contextual; from the traditional point of view there is inheritance, from an innovation point of view. Instead of complaining about discourse right in their own hands, it is better to think of ways how to do their own logic, do your own context. This may take generations of hard work, requiring each artist to find his own art history in practice to establish a mutual context.